Taken from the “Messiah”, this brass quintet is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

Taken from the “Messiah”, this brass quintet is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

A brass quintet with opt. Horn for trombone and baritone TC.for tuba. With a pulsing, marching style introduction the first theme is presented in the trombone supported by the tuba. It is then passed on to the trumpets and then enriched with contrapuntal movement. A melodic motif is now passed about amongst the voices all the while supported with contrapuntal interest in each of the other voices. Next the lower voices present the tune followed by relaxation of a gentle presentation of the tune. After an abrupt slow down, the whole ensemble breaks into joyfulness and continues that way to the end where it makes a final statement of victory.

Traditional quintet scoring with optional trumpet for horn and baritone for tuba. The introduction is very much in the style of a fanfare. The first melodic statement is in the trumpets and horn then added contrapuntally by the trombone. The next phrase alternates between the lower voices and then upper voices. Next, the melody is augmented rhythmically while support by chordal movement underneath. A quick modulation upward with motives much like the beginning with the motive tossed about amongst the different voices. Then comes a slow section with expressive movement between the voices with the melodic material and the supported chords become increasingly more bold right up to a solid ending.

A quintet that begins in a joyous manner and somewhat in a march format. It then moves to a sweet and laid back manner only to return the vitality of the opening. After a gentle interlude it breaks forth into a joyful ending.

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The introduction uses extraneous material where it leads in the first theme by the trombone until the trumpets and horn take over. Since the piece is very much in a march style the first chorus is stated in the trumpets and horn lines with counterlines in the lower brass. A brief modulation takes place where the horn gets the tune in an expressive style only to modulate to a new section with the theme in the trumpet/trombone where it all leads to a climatic point, then followed by a series of cascading chords ending with diverging chromatic scales ending in a solid chord.

Written for brass quintet, or optionally sextet, this piece begins with bold statements, moving to more contrapuntal textures, then onto more imitative textures. The piece ends with a bold statement.

A standard brass quintet with optional baritone for a sextet A mixture of textures opens the piece where the theme is first presented in the low brass. The upper brass present the tune in the chorus while the lower brass introduce a counterline. A brief transition leading up to a modulation where the second statement of the tune is a duet then shifting to the theme in the lower brass as was done earlier. Now, all join in as a trio in the upper voice with a counterline in the lower ones. The conclusion takes motivic lines and passes them around the ensemble where it comes to a vibrant end.

A traditional brass quintet with an optional baritone part which allows to be a sextet as well. The beginning is active establishing a happy beginning to the piece. Then all the parts are in straight harmonies and then become fragmented. A modulation takes place allowing the lower voices to carry the tune. Then a tuba sola solo commences with light upper parts decorating the lines, until the parts fragment. This concludes with a modulation with motivic statements. After a brief intermission the piece takes off again with the tune in the lower voices and the trumpets add a flurry descants. As the piece comes to a close more and more voices add to the mix until the pieces adds a solid, grand statement.

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The piece takes off immediately with a thematic statement in the trombone, breaking in a duet with the horn. Additional entries keep massing in the lower voices until most of the ensemble is involved. All of a sudden, the upper brass, silently present the tune in block harmonies until the lower brass present a countermelody. Now! Everybody’s involved. Next, a dialog between the upper brass and middle brass takes place as it alternates back and forth. With a modulation in place the tempo goes slow, the tune is in the lower brass- expressive! All of a sudden from bottom to top motives are presented- in stacked chords…. This goes through different transformations until the piece elevates into an uplifting conclusion.

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The introduction uses extraneous material where it leads in the first theme by the trombone until the theme is passed around in fragments until the them is taken over by the trumpets, and the trombones. A modulation takes place where the theme is in the trombones with flourishes in the trumpets. The trumpets now take the theme with flourishes in the middle voices until the piece ends with a declamatory statement.

A standard brass quintet with optional trumpet for horn. As one might expect the piece is cheerful from beginning to end. It opens with rhythmic patterns where the first statement of the tune is presented by the trombone. The chorus is harmonically in block format where it comes to an end. NOW, something different the second trumpet and tuba present a simple accompaniment while all the other voice, yes voices, sing the words and melody of the song! A brief conclusion, a modulations and the piece returns to the texture of the earlier statement. The a bit of tongue and check statements and a very conclusive ending.

This quintet (opt. Sextet) begins with extraneous motifs leading into the first statement of the theme in the low brass offset by answering material in the trumpets. The pieces continues in this question and answer texture passing motivic material around the parts. Then in a transition mimicking the beginning a modulation takes place where the theme is more expressive and becomes more aggressive leading up to a majestic coda where it ends on a thought-provoking conclusion.